Operating Instruction Manual ELECTRONIC MUSIC MIXER

Model D-5.5, D-5.5E

Toa Electric Co., Ltd. KOBE, JAPAN Contents

General Description ...... 2 Features ...... 3·4 Front Panel: Names of components & their usage (D-5.5) ...... 5~9 Rear Panel: Names of components & their usage (D-5.5) ..... 10~12 Front Panel: Names of components & their usage (D-5.5E) ...... 13 Rear Panel: Names of components & their usage (D-5.5E) ...... 14 Block and Level Diagrams ...... 15·16 Specifications (D-5.5, D-5.5E) ...... 17 Rack Mounting Instructions ...... 18 Procedure for changing internal switch setting ...... 19 Characteristics Diagam ...... 20 Appearance ...... 20

Precautions

1. Power Supply The D-5.5 and the D-5.5E are designed to operate on local AC (50/60Hz) Mains, ±10%.

2. XLR Type Audio Connector The connectors are wired as follows. The pin 1 is ground (shield), the pin 2 cold (low, minus), the pin 3 hot (high, plus).

3. Phantom Power Supply The phantom power switch on each input channel permits the user to supply 48V DC through the input connectors to a condenser microphone. If phantom power is not required, the switch must be in the "off" position.

4. Description of components and function on the D-5.5, D-5.5E Various descriptions are applied, depending on each manufacture. In our Operating and Instruction Manual explanation of components and functions is made according to our usage for them.

— 1 — General Description

The TOA D-5.5 is a 19" rackmount or console configuration, eight-input stereo mixer especially designed for electronic music and sound. It is expandable to a 32-input mixing system, with group, stereo and mono outputs, and 16 MIDI-THRU jacks, when combined with two D-5.5E 12-input expansion units. The D-5.5 was designed to perform many different applications in broadcast, live sound reinforcement, and recording environments.

The D-5.5 provides four Group outputs, and mixing busses for Aux 1, Aux 2, Effects, Reverb, and Cue. System features include: Sum output selectable pre- or post-fader (St. L + R); two Aux sends, selectable pre-EQ/fader, post-EQ/pre-fader, or post-EQ/fader; Aux returns to Groups 1~4 and Stereo L, R, with pan, level and crossfade controls; an effects patching loop and an internal spring reverb effect are returnable to the 4 groups, stereo L, R, and Aux 1 & 2, with pan, level, and crossfade controls; dual bargraph meters, selectable to Sum/Cue or Stereo L/R; a Headphone output with level control, a Cue buss output with level control, and a Cue buss input.

Each input channel features a writing block to identify the source; tape/source selection switch; cue switch; 60 mm fader; pad and trim controls; two-color LED to indicate signal prescence (green), or clipping (red); channel on/off switch with orange LED indicator; 3-band EQ (high and low shelving-type, and mid peaking-type with frequency sweep control); two Aux sends, selectable pre- or post-EQ; reverb send to internal spring reverb; effects send; and four group sends via two pan and level controls.

Each of the four Groups features level and crossfade controls for returning Aux and Effects signals to the Group mixing busses, and a stereo pan for assigning Group signals to the stereo Left and Right mixing busses. The four groups and Stereo L, R also feature dual-color signal prescence/clip LED indicators; an on/off switch with orange LED; writing block; 60 mm fader; and cue switch.

The D-5.5 rear panel features an RCA tape input, a 1/4" phone jack, and an electronically balanced XLR (with switchable 48-volt phantom powering) for each input channel. Each input also has separate pre and post accessory patch points and a direct output. Input channels 7 and 8 are front panel switchable to stereo RIAA inputs, for use with magnetic cartridge turntable.

Group 1~4 output connections are RCA and 1/4" phone jacks; each features separate pre and post accessory patch points (RCA). Stereo L, R and Sum output connections are individual RCA's, 1/4" phone jacks, and electronically balanced XLR's with ground lift switches. Stereo L, R and Sum outputs also feature pre and post accessory patching jacks.

The MIDI jacks are also located on the rear panel. "A" or "B" MIDI inputs are assignable to four MIDI-THRU outputs (expandable to 16), allowing the use of multiple MIDI instruments without the data loss or delay that may occur when several instruments are connected serially through their internal MIDI-THRU jacks. Each MIDI-THRU output is provided with a front panel mounted on/off switch.

Also on the rear panel are a Buss-Link connector for connecting D-5.5 Expander units, separate 1/4" phone jacks for stereo L, R Cue buss input and outputs, Aux 1, 2 sends and returns, external Reverb send and return, and Effects send and return; a push button circuit breaker, chassis ground post, and six-foot AC power cord complete the rear panel.

The D-5.5 combines with one D-5.5E for 20-inputs or two D-5.5E's for 32 input channels. Both units can be mounted in a standard 19" rack, or may be used in a console configuration by removing the rack ears, rotating the rear panel 90 degrees, and attaching the included wooden side panels. The mixers are finished in an attractive and durable gray enamel, with 3-color control identification markings.

— 2 — Features

The D-5.5 is an 8 input, 19" rack mountable mixing console, featuring superior audio performance, system expandability, and unique "user friendly" design.

System Features: Each Input Channel Feature:

8×4×2×1 configuration: 8 inputs; 4 sub groups; Tape/Source Selection switch. stereo L & R; mono sum. 2-color LED indicator for signal presence (green) and Expandable to 32 inputs with two 12 input D-5.5E clip (red). expansion unit. Pad and trim controls. Rear panel rotates 90 degrees to enable use as console type mixer, or as 19" rack mount mixer with the 3-band EQ; shelving type for high and low; peaking included mounting brackets; removable wooden side mid with sweep control. panels. 2 Aux sends; selectable pre or post. Selectable 2×4 MIDI Thru function; expandable to 2×16. Reverb send to internal spring reverb; post EQ and fader. Stereo RIAA Inputs for turntables with magnetic cartridge; selectable from front panel; input channels Effect send; post EQ and fader. 7 & 8. 4 group sends via 2 level and pan controls. 2 Aux returns to four groups and Stereo L & R, with level and crossfade controls. Channel on/off switch with LED indicator (orange).

Internal spring reverb with dedicated 2-band EQ. Can Writing block. return to four groups, stereo L & R, and Aux 1, 2 with pan, level, and crossfade controls. 60 mm fader.

Effects patching loop, returnable to four groups, Cue switch. stereo L & R, and Aux 1, 2 with pan, level, and crossfade controls. Each Group Features:

Dual bargraph meters; selectable between Sum/Cue Level and crossfade controls for returning aux and and St L & R. effects signals to group busses.

Sum Output (St L & R); selectable pre or post fader. Stereo pan pot to Stereo L & R busses.

2 Aux sends; selectable "pre-EQ and fader," "post- 2-color LED indicator for signal presence (green) and EQ, pre-fader," "post-EQ and fader." clip (red).

Mono reverb send and mono effects send; both are Channel on/off switch with LED indicator (orange). "post EQ and fader." Writing block. Headphones output with level control. 60 mm fader. Push button circuit breaker instead of fuse. Cue switch.

— 3 — Features

Stereo L & R Features: Sum Connections: 2-color LED indicator for signal presence Separate pre and post accessory patch points: RCA. (green) and clip (red). Direct Output: RCA. 1/4" phone jack, and electroni- Channel on/off switch with LED indicator cally balanced XLR with ground lift switch. (orange). Writing block. Other Connections: 60 mm fader. L & R Cue input: 1/4" phone jacks. Cue switch. L & R Cue Buss output: 1/4" phone jacks.

Aux 1 & 2 sends and Aux 1 & 2 returns: 1/4" phone jacks. REAR PANEL: Rev send, and return: 1/4" phone jacks. Input Channel Connections: Effects send, and return: 1/4" phone jacks. Separate pre and post accessory patch points: RCA. A and B MIDI Input: DIN plug. Direct Output: RCA. 1-4 MIDI Thru: DIN plug. Source inputs: 1/4" phone jack, and electronically balanced XLR with individually switchable 48-volt Buss Link: Multi-pin computer-type connector. phantom power.

Tape input: RCA.

RIAA inputs on channels 7 & 8: RCA. Group 1-4 Connections: Separate pre and post accessory patch points: RCA. Direct Output: RCA, 1/4" phone jack. Stereo L & R Connections:

Separate pre and post accessory patch points: RCA.

Direct Output: RCA, 1/4" phone jack, and electroni- cally balanced XLR with ground lift switch.

— 4 — Front Panel (D-5.5)

INPUT CHANNEL (D-5.5) Phono EQ (RIAA) IN/OUT Switch (RIAA IN/OUT) This switch is available for input channels 7 and 8 only and is active when a turntable with magnetic type cartrige is connected to the Phono input channel. The switch is a "push-in push-out" type. The "out" position provides a flat frequency response.

Tape/Source Switch (TAPE/SOURCE) This switch is provided for selecting the desired input signals. When monitoring the signals from the XLR connector, phone jack and phono inputs, the switch should be set to the "SOURCE" position. When the signal from the "Tape In" input is desired, the switch should be set to the "TAPE" position.

Signal/Peak LED Indicator (SIG/PEAK) The dual color LED indicator lights green when the pre or post EQ signal level reaches more than -30dB, and turns red when the signal level reaches 3dB below clipping, giving a visual reference for optimum setting of the trim control.

Input Level Selector (PAD) The selector provides 30dB attenuation of the sensitivity of the XLR connector, phone jack and phono inputs at the "30" position. The "0" position shows the sensitivity indicated on the panel. The correct setting should be made according to the output level of the equipment connected.

Input Trim Control (TRIM) The trim control adjusts the gain of the preamp stage of the associated channel, providing 30dB of gain control. When the trim control is set to the "0" position with the input level selector at the "0" position, the nominal levels of the associated inputs are as follows. a. Mic input: -60dB b. Tape input: -20dB c. Phono input: -50dB (Input channels, 7 and 8 only) The trim control and input level selector of each channel should be properly adjusted so that the peak LED just begins to turn red from green or only flash red occasionally. This will ensure lowest distortion level and optimum signal to noise ratio.

High Equalizer Control (HIGH) The high EQ control alters the high frequency response of the input channel, providing ±10dB at 4kHz, and ±15dB at 20kHz of continuously variable active shelving equalization. The "0" detented position provides flat audio response.

Mid Equalizer Center Frequency Control (MID FREQ) This control alters the center frequency of the mid EQ control in the range from 200Hz to 5kHz.

Mid Equalizer Control (MID LEVEL) This control alters the mid frequency response of the input channel, providing ±15dB at the center frequency of peaking equalization. The "0" detented position provides flat audio response.

Low Equalizer Control (LOW) The low EQ control provides ±10dB at 150Hz and ±15dB at 20Hz of continuously variable active shelving equalization. The "0" detented position provides flat audio response.

AUX 1 Control (AUX 1) This control determines the level of the input signal to be fed to the aux 1 buss. When in the center detent position the control is off, and no signal is assigned. Rotating the control counter-clockwise increases the amount of pre-fader/post- EQ signal assigned to the buss. Rotating the control clockwise increases the amount of post-fader/post -EQ signal. Note: "Pre-fader/post-EQ" can be changed to the pre-EQ signal with an internal switch. (See page 19 for details.)

— 5 — Front Panel (D-5.5, D-5.5E)

AUX 2 Control (AUX 2) Group Assign Control 3 and 4 (GROUP LEVEL) This control determines the level of the input signal This control determines the amount of a given input to be fed to the aux 2 buss. When in the center detent signal assigned to the group 3 and 4 via the group position the control is off, and no signal is assigned. assign control. Rotating the control counter-clockwise increases the amount of pre-fader/post-EQ signal assigned to the Group Assign Pan control 3 and 4 (GROUP PAN) buss. This pan control assigns the amount of signal Rotating the control clockwise increases the amount determined by the group assign control to the group of post-fader/post-EQ signal. 3 and 4 busses, providing equal output to the group 3 Note: "Pre-fader/post-EQ" can be changed to pre-EQ and 4 busses at the detent center position. Rotating signal with an internal switch. (See page 19 for the pan control counter-clockwise decreases the details.) amount of the signal to be fed to the group 4 buss, keeping the original level of the signal for the group 3 Reverb Control (REV) buss, while rotating the pan control clockwise This control determines the amount of post-fader/ decreases the amount of the signal to be fed to the post-EQ signal assigned to the reverb buss from a group 3 buss, keeping the original level of the signal given input channel, and thus the level of reberb for for the group 4 buss. that channel. Channel Switch ON Indicator (CHANNEL ON) Effects Control (EFF) The LED indicator lights orange when the channel This control determines the amount of post-fader/ on/off switch is "on". post-EQ signal assigned to the effect buss from a given input channel, and thus the level of effects for Channel ON/OFF Switch (CHANNEL) that channel. This pushbutton connects or disconnects the input signal to the mixing busses. Group Assign Control 1 and 2 (GROUP LEVEL) This control determines the level of input signal Writing Block assigned to the group buss 1 and 2 via the group The name of the input equipment or microphone assign pan control. setting can be written in with an erasable felt pen or grease pencil. Group Assign Pan Control 1 and 2 (GROUP PAN) This pan control assigns the amount of signal Input Fader determined by the group assign control to the group The fader provides continuously variable adjustment 1 and 2 busses, providing equal output to the group 1 of the channel's output to the mixing busses. The and 2 busses at the center position. Rotating the pan nominal level is at the "0" position, with the fader control clockwise decreases the amount of signal to retaining a l0dB margin. be fed to the group 2 buss, keeping the original level of the signal for the group 1 buss, while rotating the Cue Switch (CUE) control counter-clockwise decreases the amount of The cue switch is for monitoring the post-EQ, signal to be fed to the group 1 buss, keeping the pre-fader signal in each input channel through original level of the signal for the group 2 buss. headphone and cue output. The switch is a "push-on push-off" type. When more than two switches are "on" the signals are combined.

MIDI THRU

(D-5.5) (D-5.5E)

The D-5.5 incorporates two, switchable MIDI inputs MIDI THRU ON/OFF Switch (MIDI THRU ON/OFF) and four MIDI THRU outputs. With the D-5.5E, six This switch is for "on" or "off" function of each MIDI additional MIDI THRU outputs are available. THRU output. The MIDI THRU is "on" in the "push" position. MIDI LED Indicator (MIDI IN) This yellow LED indicates the presence of MIDI data CAUTION at the MIDI input jack on the rear panel (MIDI IN). While the MIDI LED indicator is flashing, do not operate either the MIDI input selector switch or MIDI Input Selector Switch (MIDI IN, A, B) the MIDI THRU on/off switch in order to avoid This switch selects either the MIDI input B signal in malfunction of connected MIDI equipment. the "push" position, or A signal in the "release" position.

— 6 — Front Panel (D-5.5)

OUTPUT CHANNEL

Level Control for Return to Group (RET TO GROUP, LEVEL) This control adjusts the level of signal from the AUX 1 return and AUX 2 return, or the EFF return and REV return.

Cross-fate Control to Group (RET TO GROUP, X-FADE) With the return signal select switch set to the REV/EFF position, the EFF and REV return signal levels are equally assigned to the group buss. When the control is in its center, detent position. Rotating the control counter-clockwise decreases the signal level of the EFF return, keeping the original level of the REV return signal, while rotating the control clockwise decreases the signal level of the REV return, keeping the original level of the EFF return signal. With the return signal select switch set to the aux 1/aux 2 position, the aux 1 and aux 2 return signal levels are equally assigned to the group buss when the control is in its center, detent position. Rotating the control counter-clockwise decreases the signal level of the aux 2 return signal, keeping the original level of the aux 1 return signal, while rotating the control clockwise decreases the signal level of the aux 1 return, keeping the original level of the aux 2 return signal.

Return Signal Select Switch (REV/EFF, AUX 1 / AUX 2) This switch selects either the REV/EFF return signals or the AUX 1 / AUX 2 return signals to feed them to the group buss.

Pan Pot (PAN) The pan pot control assigns the fader output signal of each group channel to the stereo L and R mixing busses. At the detented center position, the pan pot routes the signal equally to the L and R mixing busses. Panning from one side to the other gradually assigns the input signal to either the stereo L or R mixing busses exclusively. Signal/Peak LED Indicator (SIG/PEAK) The LED indicator lights in green colour when the group output signal reaches more than -30dB, and turns to red when the groups signal reaches -3dB below clipping, giving a visual reference for adjust- ment of the group fader. (See NOTE 1)

Group Channel ON indicator (CHANNEL ON) The LED indicator lights orange when the group channel ON/OFF switch is "on".

Group Channel ON/OFF Switch (CHANNEL) This pushbutton connects or disconnects the signal to the group output and stereo L/R busses. NOTE 1: Levels should be adjusted so that the LED only flashes red intermittently. A steady red light indicates that the channel is being over driven and the level should be reduced.

— 7 — Front Panel (D-5.5)

Writing Block Cue Switch (CUE) The name of the source signal can be written in with The switch permits monitoring the signal prior to the an erasable felt pen or grease pencil. effect return level control.

Group Fader (GROUP 1 - 4) Sum Select Switch (SUM SLECT, PRE/POST) The 60mm fader provides continuously variable This switch selects either the channel pre-fader or adjustment of the group level to the stereo L and R post-fader signals derived from the stereo L and R busses, and the group output connectors. busses, and sends them to the SUM output. The switch provides pre-fader signal in the "push" Cue Switch (CUE) position, and post-fader signal in the "release" The cue switch is for monitoring the pre-fader signal position. in each group channel through the headphones and cue out. This function is for independent audition of Signal/Peak LED Indicator (SIG/PEAK) the group mixes. The LED indicator lights green when the sum output signal reaches more than -30dB, and turns to red Level Control for Aux 1 Return to Stereo L and R when the signal level reaches -3dB below clipping, (AUX/RET, LEVEL) giving a visual reference for adjustment of the SUM This control adjusts the signal level from the AUX 1 channel fader. (See NOTE 1) return and feeds it to the stereo L and R busses via the pan control. Sum Channel ON Indicator and Channel ON/OFF Switch (CHANNEL ON) Pan Pot (PAN) The LED indicator lights orange when the channel The pan control assigns the signal from the AUX 1 on/off switch is "on". return to the stereo L and R busses. Writing Block Cue Switch (CUE) The switch permits monitoring the AUX 1 signal Sum Out Fader (SUM) prior to the AUX 1 return level control. The fader provides continuously variable adjust- ment of the SUM output. Level Control for Aux 2 Return to Stereo L and R (AUX 2 RET, LEVEL) Cue Switch (CUE) This control adjusts the signal level from the AUX 2 The cue switch permits monitoring the pre Sum- return and feeds it to the stereo L and R busses via fader signal through the headphone and cue output. pan control. Aux 1 / 2 Send Control (AUX SEND, AUX 1 / AUX 2) Pan Pot (PAN) The aux 1 and aux 2 send controls govern the overall The pan control assigns the signal from the AUX 2 level of signal sent to on-stage monitor amplifiers, or return to the stereo L and R busses. an outboard effect device thought the aux 1 and 2 send jacks on the rear panel. Cue Switch (CUE) The switch permits monitoring the AUX 2 signal Reverb Send Control (REV/EFF SEND, REV) prior to the AUX 2 return level control. This control governs the overall level of signal sent to the built-in reverb unit or an outboard effect Level Control for Reverb Return or Built-in Reverb device through the reverb send jack on the rear to Stereo L and R (REVERB RET, LEVEL) panel. The control adjusts the signal level from the reverb or the built-in reverb and feeds it to the stereo L and Effect Send Control (REV/EFF SEND, EFF) R busses via the pan control. This control governs the overall level of signal sent to an outboard effects device through the Effect Send Pan Pot (PAN) jack on the rear panel. The pan control assigns the signal from the reverb return to the stereo L and R busses. Internal Reverb Equalizer Control (INT REV EQ, HIGH/LOW) Cue Switch (CUE) These controls alter the frequency response of the The switch permits monitoring the signal prior to the built-in reverb circuitry. The high EQ control pro- reverb return level control. vides ±10dB at 4kHz, and ±15dB at 20kHz of continuously variable active shelving equalization. Level Control for Effect Return to Stereo L and R (EFF RET, LEVEL) The low EQ control provides ±10dB at 150Hz and This control adjusts the signal level from the effects ±15dB at 20Hz of continuously variable active return and feeds it to the stereo L and R busses via shelving equalization. The "0" detented position of the pan control. both controls provide flat audio response.

Pan Control (PAN) The pan control assigns the signal from the effects return to the stereo L and R busses.

— 8 — Level Control for Effect and Reverb Return to Aux 1 Signal/Peak LED Indicator (SIG/PEAK) (REV/EFF TO AUX, LEVEL AUX 1) The LED indicator lights green when the stereo out L This control governs the amount of reverb signal or R signals reach more than -30dB, and turns to red (built-in or outboard) returned through the reverb when the stereo out L or R signals reach -3dB below return jack (REV RET), and effect signal returned clipping, giving a visual reference of adjustment of through the effect return jack (EFF RET) to AUX 1 the stereo L or R faders. (See NOTE 1) mixing buss. The signals of REV RET and EFF RET are controlled simultaneously. Stereo Channel ON Indicator and Channel ON/OFF Switch (CHANNEL ON) Cross-fade Control to Aux 1 (REV/EFF TO AUX, The LED indicator lights orange when the channel X-FADE) switch is "on". When this control is in the center position, the REV RET and EFF RET signals are equally assigned to the Writing Block AUX 1 mixing buss. Rotating the control counter- clockwise decreases the EFF RET signal level, Stereo Left and Right Fader (STEREO L, R) keeping the original level of the REV RET signal. The fader provides continuously variable adjust- Rotating the control clockwise decreases the REV ment of the stereo L or R output, and the signal level RET signal level, keeping the original level of the to the Sum out channel when the sum select switch EFF RET signal. is set in the "POST" position.

Level Control for Effect and Reverb Return to Aux 2 Cue Switch (CUE) (REV/EFF TO AUX, LEVEL AUX 2) The cue switch permits monitoring the pre stereo L, This control governs the amount of reverb signal R fader signals through the headphones and cue out. (built-in or outboard) returned through the reverb return jack (REV RET), and effect signal returned Power LED indicator and Switch (POWER) through the effect return jack (EFF RET) to AUX 2 The power switch alternately turns AC power to the mixing buss. The signal of REV RET and EFF RET are D-5.5 "on" and "off". The LED indicator lights when controlled simultaneously. the switch is "on".

Cross-Fade Control to Aux 2 (REV/EFF TO AUX, Dual LED Bargraph Meter and Meter Select Switch X-FADE) (METER SELECT, SUM/CUE, L/R) When the control is in the center position, the REV The meter indicates the sum output (left side) and RET and EFF RET signals are equally assigned to the cue output (right side) when the meter select switch AUX 2 mixing buss. Rotating the control counter- is set in the "push" position, and indicates the stereo clockwise decreases the signal level of the EFF RET, L output (left side) and stereo R output (right side) keeping the original level of the REV RET signal. when the meter select switch is set in the "release" Rotating the control clockwise decreases the signal position. level of the REV RET, keeping the original level of the EFF RET signal.

Cue Out Level Control and Cue ON LED Indicator (CUE OUT, CUE) The cue out level control adjusts both the stereo L and R signals and the Cue in (L, R) signal fed to the Cue output on the rear panel (CUE OUT) and permits stereo monitoring when the cue switch is "off". When the cue switch is "on", the control adjusts the corresponding cue signal. When two or more of the cue switches are "on", the control adjusts the corresponding combined cue signals. The cue on LED lights when one of the cue switches is "on".

Headphone Level Control and Jack (PHONES) The phones level control adjusts both the stereo L and R signals and the Cue IN (L, R) signal fed to the phones output and permits stereo monitoring when the cue switch is "off". When the cue switch is "on", the control adjusts the corresponding cue signal. When two or more of the cue switches are "on", the control adjusts the corresponding combined cue signals. The headphone jack will accept any stereo headphone with 8 ohms impedance, or higher.

— 9 — Rear Panel (D-5.5) Rear Panel (D-5.5) Sum Output jacks RCA Post Accessory Patch RCA Stereo L & R Pre Group Output jacks 1/4" phone Channel Input (IN- RCA Sum Post Accessory Accessory Patch Points RCA Stereo L & R Post RCA Group Pre Accessory RCA Group Post Accessory (SUM OUTPUT) Patch Points Accessory Patch Points Patch Points (PRE IN/OUT) Patch Points (POST IN/OUT) (GROUP OUTPUT) Points (POST IN/OUT) PUT) The unbalanced RCA pin jack, (POST IN/OUT) (PRE IN/OUT) (POST IN/OUT) These RCA pin jacks are unba- These RCA pin jacks are unba- The unbalanced RCA pin jacks These RCA pin jacks are unba- This jack is a standard 1/4" phone 1/4" phone jack and electronical- These RCA pin jacks are unba- These RCA pin jacks are unba- These RCA pin jacks are unba- lanced, with a nominal level of lanced, with a nominal level of and 1/4" phone jacks are wired in lanced, with a nominal level of jack, with a nominal level of ly balanced XLR connector are lanced, with a nominal level of lanced, with a nominal level of -10dB. Input jack impedance is — 10dB. Input jack impedance is parallel. The RCA jack has a -10dB. Input jack impedance is -40dB and an impedance of lanced, with a nominal level of — 100k ohms, and accepts input wired in parallel. The RCA jack — l0dB. Input jack impedance is — l0dB. Input jack impedance is 10dB. Input jack impedance is 10k ohms, and output jack impe- 10k ohms, and output jack impe- nominal output level of — 10dB 10k ohms, ana! output jack impe- has a nominal output level of 10k ohms, and output jack impe- 10k ohms, and output jack impe- dance is 1k ohms. The Accessory dance is 1k ohms. The Accessory and an impedance of 1k ohms, dance is 1k ohms. The Accessory sources from -40dB to +20dB. 10k ohms, and output jack impe- Proper adjustment of the pad and -l0dB and an impedance of 1k dance is 1k ohms. The Accessory dance is 1k ohms. The Accessory dance is 1k ohms. The Accessory jacks allow signal processing and jacks allow signal processing and while the 1/4" jack has a nominal jacks allow signal processing and ohms, and the 1/4" phone jack jacks allow signal processing and jacks allow signal processing and jacks allow signal processing and effect devices to be inserted into effect devices to be inserted into output level of +4dB and an effect devices to be inserted into tirm control (PAD/TRIM) and in- has a nominal output level of effect devices to be inserted into effect devices to be inserted into effect devices to be inserted into the signal path. The regular sig- the signal path. The regular sig- impedance of 1k ohms. The jacks the signal path. The regular sig- put fader ensure optimum signal- +4dB and an impedance of 1k the signal path, the regular signal the signal path. The regular sig- the signal path. The regular sig- nal path is interrupted when a nal path is interrupted when a may be used simultaneously. nal path is interrupted when a to-noise ratio and minimum dis- ohms. The XLR connector has a path is interrupted when a plug nal path is interrupted when a nal path is interrupted when a plug is inserted into the Acces- plug is inserted into the Acces- plug is inserted into the Acces- tortion. When a plug is inserted nominal output level of +4dB is inserted into the Accessory in plug is inserted into the Acces- sory in jack. sory in jack. RCA Tape Input (TAPE IN) sory In jack. into the 1/4" input jack, the cor- jack. plug is inserted into the Acces- and an impedance of 1k ohms. sory in jack. sory In jack. These RCA pin jacks are unba- responding XLR mic input or All jacks may be used simul- lanced, with a nominal level of phono input is automatically taneously. Stereo L & R output jacks switched out of the input circuit- -20dB and impedance of 10k ry- (ST L & ST R OUTPUT) ohms, and accept input sources RCA Sum Pre Accessory The unbalanced RCA pin jacks, from -20dB to + 10dB. Proper Ground Lift Switch (GND) 1/4" phone jacks and electroni- adjustment of both trim control RCA Pre Accessory Patch Patch Point Points (PRE IN/OUT) These switch are assigned to the (PRE IN/OUT) cally balanced XLR connectors (TRIM) and input fader ensure XLR Sum Output and Stereo L & are wired in parallel. The RCA optimum signal-to-noise ratio These RCA pin jacks are unba- These RCA pin jacks are unba- lanced, with a nominal level of R connectors, and are used to lanced, with a nominal level of jack has a nominal output level of and minimum distortion. avoid ground loops and induced — l0dB. Input jack impedance is — l0dB and an impedance of 1k -10dB. Input jack impedance is hum that sometimes occur when 10k ohms, and output jack impe- 10k ohms, and output jack impe- ohms, and the 1/4" phone jack Direct Output (DIRECT OUT) Phantom Power Switches connecting the D-5.5's XLR Sum dance is 1k ohms. The Accessory has a nominal output level of The Direct Output on each chan- dance is 1k ohms. The Accessory jacks allow signal processing and (PHANTOM1~8) Output or Stereo L & R Output jacks allow signal processing and +4dB and an impedance of 1k nel utilizes an unbalanced RCA The phantom power switch on with other equipment. Sliding effect devices to be inserted into ohms. The XLR connectors have pin jack with an impedance of 1k effect devices to be inserted into the Ground Lift Switch from the ohms and a level of -10dB. The the signal path. The regular sig- each input channel permits the NORMAL position to the LIFT the signal path. The regular sig- a nominal output level of +4dB user to supply 48V DC through nal path is interrupted when a and an impedance of 1k ohms. Direct Output is post-EQ/post- nal path is interrupted when a position breaks the ground con- fader, and is useful for recording plug is inserted into the Acces- the input connectors to a conde- nection and may reduce hum and plug is inserted into the Acces- All jacks may be used simul- nser microphone. If phantom noise. For most applications the sory in jack. taneously. and for sending individual in- sory in jack. struments to a main PA mixer power is not required, the switch witch should be left in the NOR- must be in the "off" position. MAL position. through direct boxes.

Effect Return Jack (EFF RET) This 1/4" phone jack is used in conjunction with the Effect Send jack to connect an outboard Balanced XLR Microphone In- effects device (ie., delay or re- verb) to the D-5.5. The Effect put Return jack should be connected (MIC) to the output of the effect. MIDI Thru Connectors The XLR-type microphone input Nominal input level is — 20dB (MIDI THRU) connectors are electronically ba- with an impedance of 10k ohms. The MIDI signal from the MIDI lanced with a nominal level of Input connector (MIDI IN, A/B) is —60dB and an input impedance split and sent unaltered to the of 1k ohms, and will accept sig- Earth Terminal nals from -60dB to 0dB. Phan- Reverb Return Jack (REV RET) four MIDI Thru connectors on the These may be used to provide D-5.5, and to six more MIDI Thru tom powering is provided for use This 1/4" phone jack is used in ground connection for tape decks conjunction with the Reverb connectors on the D-5.5E, if used. with condenser-type mic- or turntables. Each of the MIDI Thru jacks can rophones (see PHANTOM), and send jack to connect an outboard Aux 2 Return Jack (AUX 2 RET) effects device (ie., delay or re- Effect Send Jack (EFF SEND) be connected to a different synth- once again the proper adjustment verb) to the D-5.5. The Effect This 1/4" phone jack can be used This 1/4" phone jack is used in L & R Cue Buss Output esizer's MIDI Input jack, allow- of Pad and Trim control (PAD/ Return jack should be connected in conjunction with the Aux 2 conjunction with the Effect Re- ing one MIDI keyboard or se- RTIM) and Input Fader will in- Send jack to connect an outboard turn jack to connect an outboard (CUE OUT L/R) quencer to control up to four sure optimum signal-to-noise to the output of the effect device. These 1/4" phone jacks provide Nominal input level is -20dB effects device (ie., delay or re- effects device (ie., delay or re- Buss Link Connector (BUSS other MIDI synths. (ten when ratio and minimum distortion. verb) to the D-5.5. The Aux 2 the same signal as the headphone with an impedance of 10k ohms. verb) to the D-5.5. The Effect using the D-5.5E and sixteen The mic input is automatically Return jack should be connected Send jack should be connected to output, and are used for monitor- LINK) When a plug is inserted into this This connector is used to link the when using the two D-5.5E's.) disconnected when either the to the output of the effect. the input of the effect. Nominal Earth Terminal ing the signals of the cue buss or corresponding the 1/4" phone jack, the built-in reverb circuitry Nominal input level is -20dB output level is +4dB with an stereo L and R busses through D-5.5 with the D-5.5E. Expander. is automatically cut off. This terminal can be used to A six-foot connecting cord is jack is used. with an impedance of 10k ohms. impedance of Ik ohms. AC Power Cord ground other devices to the D-5.5 monitor speakers. facilitiesThe power built-in. cord is (6ft.)of the three- to reduce hum and shock hazard. This jack has a nominal output included with the D-5.5E. RCA Phono (RIAA) wire type with proper grounding level of +4dB and an impedance Inputs (PHONO) of 1k ohms. These RCA pin jacks have a CAUTION - The ground pin on nominal level of — 50dB and an the AC plug should not be re- impedance of 50k ohms, and moved under any circumstances. Aux 2 Send Jack (AUX 2 SEND) Aux 1 Send Jack (AUX 1 SEND) Aux 1 Return Jack (AUX 1 RET) Reverb Send Jack (REV SEND) This 1/4" phone jack can be used accept input sources from -50dB If the D-5.5 must be used on an This 1/4" phone jack can be used MIDI Input DIN Connectors This 1/4" phone jack can be used This 1/4" phone jack is used in either as a monitor send, or in to +10dB. Proper adjustment of AC circuit with no ground or and Pushbutton Circuit Breaker (1A) either as a monitor send, or in (MIDI IN, A/B) in conjunction with the Aux 1 (PUSH RESET) conjunction with the Aux 1 Re- L & R Cue Input (CUE IN L/R) the pad and trim control (PAD/ open ground, then a suitable conjunction with the Reverb Re- conjunction with the Aux 2 Re- These connectors will accept the Send jack to connect an outboard turn jack to connect an outboard This breaker is designed to pro- turn jack to connect an outboard turn jack to connect an outboard These 1/4" phone jacks allow TRIM) and input fader ensure grounding adapter should be effects device (ie., delay or re- optimum signal-to-noise ratio MIDI output of any synthesizer, effects device (ie., delay or re- tect the D-5.5 in the event of effects device (ie., delay or re- effects device (ie., delay or re- access to the stereo cue buss. sequencer, or other MIDI device. used and its ground terminal verb) to the D-5.5. The Aux 1 internal or external fault. Wait verb) to the D-5.5. The Aux 1 and minimum distortion. When should be securely attached to a verb) to the D-5.5. The Reverb verb) to the D-5.5. The Aux 2 This feature is especially conve- Use of non-MIDI-standard DIN Return jack should be connected Send jack should be connected to about two minutes after correct- Send jack should be connected to Send jack should be connected to nient during recording applica- using a turntable with magnetic good earth connection. Failure to to the output of the effect. cartridge, place the phono EQ cables, or of cables longer than the input of the effect. Nominal ing the fault and push the button the input of the effect. Nominal the input of the effect. Nominal tions. These jacks have a nominal 5m (16'5") may result in improp- do so will result in increased Nominal input level is — 20dB output level is +4dB with an to reset the system and restore output level is +4dB with an IN/OUT switch on the front panel noise and shock hazard. with an impedance of 10k ohms. output level is +4dB with an input level of -10dB with an er operation and data loss. impedance of 1k ohms. proper operation. impedance of 1k ohms. impedance of 1k ohms. impedance of 10k ohms. to the "in" position.

— 10 — — 11 — — 12 — Front Panel (D-5.5E)

* The names of the functions on the D-5.5E are specified below as function of the input channel on the D-5.5 is the same as the D-5.5E. Difference in functions are explained. Power LED indicator and Switch (POWER) The power switch alternately turns AC power to the D-5.5E "on" and "off". The LED indicator lights when the switch is "on".

Tape/Source Switch (TAPE/SOURCE)

Signal/Peak LED Indicator (SIG/PEAK)

Input Level Selector (PAD)

Input Trim Control (TRIM)

High Equalizer Control (HIGH)

Mid Equalizer Center Frequency Control (MID FREQ)

Mid Equalizer Control (MID LEVEL)

Low Equalizer Control (LOW)

AUX 1 Control (AUX 1)

AUX 2 Control (AUX 2)

Reverb Control (REV)

Effects Control (EFF)

Group Assign Control 1 and 2 (GROUP LEVEL)

Group Assign Pan Control 1 and 2 (GROUP PAN)

Group Assign Control 3 and 4 (GROUP LEVEL)

Group Assign Pan Control 3 and 4 (GROUP PAN)

Channel Switch ON Indicator (CHANNEL ON)

Channel ON/OFF Switch (CHANNEL)

Writing Block

Input Fader

Cue Switch (CUE)

— 13 — Rear Panel (D-5.5E)

* The names of the functions on the D-5.5E are specified below as connection of the input channel on the D-5.5 is the same as the D-5.5E. Difference in functions and connection are explained.

Buss Link Connector RCA Pre Accessory (BUSS LINK OUT) Patch Points This connector is used to (PRE IN/OUT) link the D-5.5E Expander with the D-5.5. A six-foot RCA Post Accessory connecting cord is included Patch Points with the D-5.5E. (POST IN/OUT)

Buss Link Connector Direct Output (BUSS LINK IN) (DIRECT OUT) This connector is used to link the D-5.5E Expander with another D-5.5E Expan- RCA Tape Input der. (TAPE IN)

Earth Terminal

AC Power Cord MIDI Thru Connectors Balanced XLR Microphone (6 ft.) (MIDI THRU) Input (MIC) The MIDI signal from the MIDI input connector (MIDI IN) is split and sent un- altered to the four MIDI Thru Phantom Power Switches connectors on the D-5.5, and (PHANTOM 9~20) Pushbutton Circuit Breaker to six more MIDI Thru con- (1A) nectors on the D-5.5E, if (PUSH RESET) used. Each of the MIDI Thru This breaker is designed to jacks can be connected to a protect the D-5.5E in the different synthesizer's MIDI event of internal or external input jack, allowing one 1/4" Phone Channel fault. Wait about two mi- MIDI keyboard or sequencer Input (INPUT) nutes after correcting the to control up to four other fault and push the button to MIDI synths. (ten when using reset the system and restore the D-5.5E and sixteen when proper operation. using the two D-5.5E's.)

— 14 — Block Diagrams

D-5.5 BLOCK DIAGRAM

D-5.5E BLOCK DIAGRAM

— 15 — Level Diagrams

D-5.5 LEVEL DIAGRAM

D-5.5E LEVEL DIAGRAM

— 16 — Specifications (D-5.5, D-5.5E)

GENERAL SPECIFICATIONS Equalization Frequency Response LOW ±15dB 20Hz Shelving +0dB, -0.5dB 50Hz to 20kHz MID ±15dB 200Hz to 5kHz Variable Peaking +0dB, -3.0dB 20Hz to 50kHz HIGH ±15dB 20kHz Shelving Total Harmonic Distortion Sig./Peak Indicator Less than 0.3% +4dB* 1kHz (MIC IN) Sig. (Green) LED turn on at -30dB below nominal level Less than 0.1% +4dB* 1kHz (INPUT) Peak (Red) LED turn over from Sig. (Green) at -3dB below clipping Hum and Noise (20Hz to 20kHz) Phantom Power -125dB* Equivalent Input Noise (MIC IN) 48V DC is applied to MIC Input for powering condenser mic- -127dB* Equivalent Input Noise IHF-A weighted (MIC IN) rophones -100dB* All Fader minimum Meter ("0" = Nominal level of STEREO, SUM OUT and CUE bus) -70dB* Master (GROUP, STEREO or SUM) Fader pair of 12 segment bargraph LED meter for STEREO L, R or SUM, Nominal, D-5.5 only CUE -65dB* Master (GROUP) Fader Nominal, D-5.5E con- Power Consumption nection D-5.5 41W -61dB* Master (GROUP) and One Input Fader D-5.5E 39W Nominal Dimensions (W×D×H) Maximum Voltage Gain 104dB MIC IN to SUM OUT 94dB MIC IN to STEREO OUT 84dB MIC IN to GROUP OUT Weight 64dB INPUT to GROUP OUT D-5.5, D-5.5E 54dB INPUT to AUX½, REV, EFF SEND 22kg (48.5lbs) 34dB AUX½, REV, EFF RET to GROUP OUT Accessory (D-5.5E ONLY) BUSS LINK CABLE 6ft. 1 * 0dB is referenced to 0.775V RMS Specifications are subject to change without notice.

INPUT SPECIFICATIONS (D-5.5, D-5.5E) 0dB is referenced to 0.775V RMS Input Level (Trim "0" to Trim "-30") Input Actual Load For Use Connector PAD Impedance With Nominal Nominal MAX. Before Clip -60dB (0.78mV) -40dB (7.8mV) 0 to -30dB (25mV) to -10dB (250mV) MIC 1~8 XLR-3-31 TYPE <9~20> MICROPHONES -30dB (25mV) -10dB (250mV) 30 to 0dB (780mV) to +20dB (7.8V) -40dB (7.8mV) -20dB (78mV) 0 to -10dB (250m V) to +10dB (2.5V) INPUT 1~8 or LOWER ¼" PHONE JACK <9~20> IMP. LINES -10dB (250mV) +10dB (2.5V) 30 to + 20dB (7.8V) to +40dB (78V) TAPE 1~8 or LOWER -20dB (78mV) 0dB (780mV) RCA PIN JACK <9~20> IMP. LINES to + 10dB (2.5V) to +30dB (25V) -50dB (2.5mV) -30dB (25mV) RCA PIN JACK PHONO (RIAA) 7 & 8 to -20dB (78mV) at 1kHz to 0dB (780mV) at 1kHz + 10dB (2.5V) ACCESSORY IN PRE/POST EXCEPT GROUP, STERO, (INPUT, GROUP, STEREO, or LOWER -10dB (250mV) RCA PIN JACK IMP. LINES SUM. ACCESSORY IN POST SUM) +6dB (1.6V) AUX1 RET, AUX2 RET or LOWER -20dB (78mV) +10dB (2.5V) ¼" PHONE JACK REV RET, EFF RET IMP. LINES CUE IN L & R or LOWER -10dB (250mV) +24dB (12V) ¼" PHONE JACK IMP. LINES D-5.5E ONLY All XLR type connectors are electronically balanced. The XLR type connectors are wired as follows. Pin No.1-Ground, Pin No.2-Cold (Low), Pin No.3-Hot (High)

OUTPUT SPECIFICATIONS (D-5.5, D-5.5E) 0dB is referenced to 0.775V RMS Output Level Output Actual Source Impedance For Use With Nominal Connector Nominal MAX. Before Clip +4dB (1.2V) +20dB (7.8V) ¼" PHONE JACK GROUP 1~4 Lines -10dB (250mV) +6dB (1.6V) RCA PIN JACK +4dB (1.2V) +20dB (7.8V) XLR-3-32 TYPE STEREO L & R SUM Lines +4dB (1.2V) + 20dB (7.8V) ¼" PHONE JACK -10dB (250mV) + 6dB (1.6V) RCA PIN JACK AUX1 SEND, AUX2 SEND Lines +4dB (1.2V) +20dB (7.8V) REV SEND, EFF SEND ¼" PHONE JACK ACCESSORY OUT PRE/POST (INPUT, GROUP, Lines + 10dB (250mV) + 20dB (7.8V) RCA PIN JACK STEREO, SUM) DIRECT OUT 1~8 Lines -10dB (250mV) + 10dB (2.5V) RCA PIN JACK <9~20> CUE OUT L & R Lines +4dB (1.2V) + 20dB (7.8V) ¼" PHONE JACK -6dB (390mV)/8 ¼" STEREO PHONES or higher + 20dB (7.8V)/OPEN PHONE JACK D-5.5E ONLY Stereo phone jack is wired : Tip=Left, Ring=Right and Sleave=Common. All XLR type connectors are electronically balanced. The XLR type connectors are wired as follows Pin No.l-Ground, Pin No.2-Cold (Low), Pin No.3-Hot (High)

— 17 — Rack Mounting Instructions

The D-5.5 and D-5.5E are designed for either console or rack-mount use, using a pair of brackets (included). The following procedure should be observed for the rack-mount use.

1. Remove both side panels and armrest unscrewing and removing 6 screws.

2. Mount the brackets on both sides of the chassis, using the screws removed from the side panels.

3. The rear panel and blank panel should be inter- changed to allow for easy connection when the D-5.5 and D-5.5E are rack mounted.

a. Remove the rear panel corner frame and blank panel b. Put the rear panel in the original position of the blank panel. c. Put the corner frame back in place. d. Put the blank panel in the original position of the rear panel.

WARNING The D-5.5 and D-5.5E contain voltage levels that may be hazardous to human life. Always disconnect the power cord from wall outlet prior to removing either unit's outer case.

— 18 — Procedure for Changing Internal Switch Setting

NOTE: The internal switches have been provided for added versatility when using the D-5.5 and D-5.5E in a variety of applications.

AUX 1 / AUX 2 SEND PRE/POST EQ SELECTION SWITCH: Each input features an auxiliary send control for use as either an additional effects send, or as an on-stage monitor send. You should note that the Aux 1 and 2 control are a "split" pot with the detent position (12o'clock) being the off position. Typically, the control would be rotated clockwise ("post") when used as an effects send. This enables the effects level to be automatically increased as the input channel level increases. Obviously, since this signal is also derived "post" EQ, any changes made in the input channel's EQ settings will be reflected in the effects signal. When the AUX 1 or 2 control is to be used as an on-stage monitoring send, the control would typically be rotated counter clockwise ("pre"). This allows the on-stage monitor mix to operate independently of the input channel's fader. In other words, any change in the input Fig l channel's fader will not affect the level of the monitor mix. The Aux Send Pre/Post EQ Selection Switch is active only when the Aux 1 or 2 Control is used in the "pre" (counter clockwise) position. When the switch is set to the "pre" EQ position, the input channel's EQ INPUT CHANNEL controls will not affect the on-stage monitor mix. This is PCB particularly desirable when the input source is a PRE PRE PRE microphone. Since an on-stage monitor system is normally operated near acoustic feedback, a change in POST POST POST EQ (especially an increase in high frequencies) may cause ringing or squealing (feedback) through the BUSS LINK on-stage monitor speaker system. However, when the CONNECTOR input source is a synthesizer, musical instrument, etc., which is not so susceptible to feedback, you may desire to place the switch in the "post" EQ position so that the input channel EQ will affect that instrument in the monitor mix.

NOTE: The Aux 1 and 2 controls are unable to independently Fig 2 derive the pre or post EQ signal via the pre/post EQ selection switch, but always derive the same signal. Also the selection switch provides the pre or post EQ signal for the cue switch.

WARNING The D-5.5 and D-5.5E contain voltage levels that may be 3. Refer to block diagrams and Figure 2 for location and hazardous to human life. Always disconnect the power orientation of switches. cord from wall outlet prior to removing either unit's 4. Set switches to desired positions. outer case. 5. Carefully replace the bottom panel and secure with 1. Disconnect the power cord from the wall outlet. four screws. 2. Remove the four screws that secure the bottom panel 6. The Aux send pre/post EQ switch is factory preset at to the main chassis, and carefully remove the panel "POST" position (post-EQ). (See Fig 1)

— 19 — Characteristics Diagrams

INPUT EQ CHARACTERISTICS FREQUENCY RESPONSE LEVEL LEVEL

FREQUENCY FREQUENCY

Appearance

D-5.5

* Dimensions with brackets

D-5.5E

* Dimensions with brackets

— 20 — Toa Electric Co., Ltd. KOBE, JAPAN

Printed in Japan 133-02-748-80